Liszt, Franz | San Francisco Classical Voice San Francisco Classical Voice As much a superstar in his time as Michael Jackson was in ours, he revolutionized the art of piano playing. As a composer he remains most famous for his tuneful and brilliant Hungarian Rhapsodies. Vital Statistics Born: October 22, 1811 in Raiding (Doborján), Hungary (now in Austria). Died: July 31, 1886 in Bayreuth, Germany. Nationality: Hungarian Genre: Romantic Performed as: Pianist, conductor. During the composer's lifetime: The rapid expansion of railroads and steamboat/ship travel, along with general political stability in Europe enables widespread travel for those who, like Liszt, could afford it. Biographical Outline Child Prodigy: Liszt's father, Adam, a fine, amateur musician and clerk on the estates of the Esterházy family (Haydn's patrons) discovers his son's talent at age six. Within three years, Liszt is giving public concerts. His talent so impresses the famous pedagogue Carl Czerny in Vienna, that he gives Liszt lessons each evening free of charge.

Early tours, 1823-27: Adam decides to take his son on a concert tour to Paris. From there Liszt goes to London in 1824. Further English tours in 1825 and 1827 also showcase Liszt as a composer. In 1825 in Paris, his comic opera, Don Sanche is performed four times. In mourning, 1827-30: On holiday with his son, Adam dies of typhoid fever. Liszt is traumatized and, as the only child, must support his mother by giving lessons to the aristocracy in Paris. Suffering a breakdown, Liszt withdraws from the stage, experiences a bout of religious mania, and is obsessed with thoughts of death. Wake-up call, 1830-35: The "July Revolution" in Paris brings Liszt back to life. He dips into various radical philosophies, most notably that of the Abbé Lammenais, a Catholic priest turned democratic activist.

At Paris' salons he meets the leaders of French Romanticism, as well as composers Frédéric Chopin and, especially, Hector Berlioz, who becomes a good friend. Hearing mega-virtuoso violinist Niccolò Paganini in concert provides a model for Liszt's renovation of his piano technique, as shown in his fiendishly difficult Etudes after Paganini (1838-1840). Pilgrimage Years 1835-39: Liszt falls in love with the countess Marie d'Agoult, married, with two daughters, and six years his senior. They elope to Switzerland and have three children, including Cosima, future wife of the composer Richard Wagner. The couple travel through Switzerland and Italy, providing the inspiration for many of Liszt's piano masterpieces, later revised and collected in the three books titled Years of Pilgrimage. The relationship with D'Agoult fractures in 1839, and the pair separate for good in 1844.

Superstar, 1837-47: In 1837, Liszt returns to Paris for a piano "duel" with virtuoso Sigismond Thalberg, which ends in an honorable draw. Hearing reports of massive flooding in Hungary, Liszt gives 10 enormously successful relief concerts, which mark his return to the concert platform. He also concertizes to raise money for a Beethoven statue, which still stands in Bonn, Germany. For 10 years, Liszt crisscrosses Europe from England to Russia, giving over 1000 concerts, receiving unprecedented accolades and rewards, and the adulation of audiences. He also has a well-publicized affair with the dancer Lola Montez. To Weimar, with love 1848-61: Liszt accepts an offer from the Grand Duke of Weimar to become Kapellmeister-in-Extraordinary in order to create, in the composer's words, an "Athens of the North." With him is his new love, the married (but separated) Princess Carolyne von Sayn-Wittgenstein.

Liszt reorganizes the city's musical institutions and places them in service of challenging, "new music" composers, especially Berlioz and Wagner. He concentrates on composing, teaching, and conducting, and produces 12 of his 13 symphonic poems. Roman Retreat, 1861-68: In 1860, Carolyne heads to Rome, to conclude a 13-year legal battle to have her marriage annulled. Disenchanted with Weimar, Liszt follows a year later. A Vatican council grants Carolyn's petition, but moments before her wedding to Liszt is to be celebrated, the decree is revoked, a result of appeals by her in-laws. Following the deaths of two of his children, Liszt makes a two-year retreat to a monastery outside of Rome. There he completes one oratorio, The Legend of St. Elisabeth, and composes most of another, Christus. He is visited by the Pope, who becomes a friend. Fulfilling a lifelong interest, he takes the minor orders of the Catholic Church. After his return to Rome, Liszt rejoins Carolyne and takes up teaching again.

Last Years: From 1869 Liszt lives what he calls his "three-fold life" shuttling from Rome to Weimar, where the Grand Duke convinces him to transfer his teaching, to Budapest, where he helps found the Royal Hungarian Musical Academy (now the Liszt Academy) in 1875 and serves as its first president. He also takes occasional trips to music festivals and to Bayreuth, where he is reconciled with his daughter and Wagner. He travels an estimated 4000 miles a year, greatly straining his finances. Cajoled by Cosima to attend the financially endangered Bayreuth Festival, he succumbs to pneumonia a week after the festival. Fun Facts Hungarian heart, but not tongue: Although he became an ardent Hungarian nationalist, Liszt grew up speaking German and was unable to speak much Hungarian. Liszt adopted French as his eventual language of preference. Lisztomania was the term coined by the poet Heinrich Heine to describe the tremendous reception Liszt received in Berlin in 1841-42. Women were particularly susceptible to his performance mannerisms, and would fight for discarded souvenirs such as gloves or handkerchiefs touched by the Master.

Medalmania: Liszt was showered with gifts and medals from the nobility, and offended some critics by wearing several of them on occasion while performing. One reward he undoubtedly kept well out of reach: a pair of performing bears from Tsar Nicholas I. Edison of the Keyboard: Lizst invented the term "recital" for his one-man, piano-only concerts. He took the piano out of the salon and into the concert hall, sometimes playing before 3000 people. He was the first pianist to memorize his entire program, the first to play an extensive repertory of compositions from the whole history of keyboard music from Bach to his own contemporaries, and the first to set the piano in profile on the stage so that the sound reflected into the auditorium. Factory-direct: On Liszt's first trip to Paris in 1823, the coach deposited him outside the piano factory of Sebastien Erard. The boy wowed the instrument-maker and Erard became a friend of the family. Erard's pianos, with their "double escapement" action, allowed for fast repeated notes, which Liszt soon took advantage of.

Later in life, Liszt was presented with an award-winning piano direct from the Paris Exhibition, so he was always on top of developments in instrument-building. Teacher, teacher!: Liszt was a famous teacher, though he never taught technique, only interpretation. (His technical innovations and refinements became known through his published music.) He invented the masterclass, refused to take money for lessons, and taught virtually anyone who showed up at his door. Naturally, this practice allowed for a few hangers-on. His instruction has been recorded in the diaries of several of his pupils.

Among his students were some of the greatest pianists of the next two generations: Hans von Bülow, Karl Klindworth, Carl Tausig, Hans von Bronsart, Alexander Siloti, Moriz Rosenthal, Eugen d'Albert, and Sophie Menter (one of Liszt's favorites, who successfully played his First Piano Concerto in Vienna in 1869, 12 years after it had failed with the composer as soloist.) Conductor: In his ten years of regular conducting at Weimar, Liszt, along with Berlioz and Wagner, invented the modern art of interpretive conducting, originating many of the body gestures that are used by today's conductors and championing the use of modified tempo, called tempo rubato, that he also used in his playing. His ideas were taken up by Hans von Bülow (who got his start in conducting from Liszt), Hans Richter, and Felix Weingartner among others. Recommended Biography Alan Walker, Franz Liszt, 3 vols. (Cornell,1988-97 in paperback). This extended, scholarly treatment of Liszt's life is also entertaining reading.

Walker has also edited a volume of reminiscences about Liszt and a diary chronicling the musician's last days at Bayreuth. This biography is the definitive work on Liszt. Derek Watson, Liszt. The Master Musicians. (Oxford, 2001). Not nearly as good as Walker, but in one volume and only 400 pages, for those in a hurry. Explore the Music Liszt is most famous for his solo piano pieces, one of the most marvelous and challenging bodies of work for the instrument. Although uneven and infrequently played, several of the symphonic poems are worthwhile, and the two oratorios are full of beautiful, original music. Greatest hits: At least three of Liszt's piano pieces are so famous that even people who don't care for classical music recognize the tunes: the Hungarian Rhapsody No. 2, the Liebestraum (Love's Dream) No. 2, and La Campanella (Little Bell)- which is actually a piano transcription of a violin piece by Paganini. Transcriptions: Liszt was a master at adapting large, orchestral works for piano. In the age before recording, this was an important way of getting music to the public.

Liszt's transcription of Berlioz' Symphonie fantastique, for example, was published in 1834, 11 years before the full, orchestral score. Sometimes Liszt would create an original piano work using themes from an opera. An example of this "paraphrase" form is the Reminiscences of Don Juan, based on Mozart's opera. Recommended Websites Franz Liszt Facts & Biography | Famous Composers Fields: pianist, virtuoso, teacher, conductor Famous For: Composing over 700 pieces Franz Liszt was a virtuoso pianist, composer , conductor and instructor who was born in Hungary. He is considered one of the nineteenth century’s best composers. At the time of his death, he had created more than seven hundred compositions. Early Life His father, Adam Liszt, was a multi-instrumentalist who taught him how to play the piano. Liszt was acknowledged as being a child prodigy when he was six, and by eight, he was creating elementary works. By the time he was nine years old, Liszt was already performing in Sopron and Pressburg concert halls.

Father and son made trips to Vienna to meet with Antonio Salieri, who promptly became a supporter of the young Liszt. After he heard the young boy play, he agreed to teach him composition at no cost. For a number of months, Liszt held many performances for both kings and musicians. He had an impressive talent of being able to improvise a new composition from a tune that an audience member had suggested. By the time he was twelve, he visited Paris with his father so he could seek admission into the Paris Conservatory. He was denied admittance because he was not French. His father, was very determined so he asked Ferdinando Paer to instruct his young son in advanced composition. During this time, Liszt composed his one and only opera, “Don Sanche.” His father died in 1826. He then went to live with his mother in a one bedroom apartment in Paris. In the following years, Liszt lost his desire for music so much that he seriously started to question his career. He turned down many requests to perform and began to read books about religion and art. Later, these books would influence his music life.

Professional Career Liszt fell in love with the Countess Marie d’Agoult in 1833. In 1834, he matured as a composer with his piano compositions “Harmonies poétiques et religieuses,” as well as the three “Apparitions.” All of these were poetic works that contrasted with the early fantasies he had written. By 1835, the countess had left her husband, and went to Geneva to live with Liszt. They had a daughter in December of 1835, and later, two more children were born. Liszt then taught at the new Geneva Conservatory. Bolstered by his new compositions and public performances, Liszt experienced great success in Europe. By 1842, his relationship with the countess ended. In 1847, he met Princess Carolyne zu Sayn-Wittgenstein in Kiev. She urged him to quit touring and to start composing and teaching instead so they could have a domestic life together. He gave his last paid concert in September. The following year, they relocated to Weimar, Germany. There, he started to focus on new compositions.

During this time, Liszt’s most famous achievement was his symphonic poem, a kind of orchestral musical piece which illustrated a poem, a painting, a story, or some other non-musical source. For the next ten years, his innovative compositions were performed in many concert halls throughout Europe, winning him many followers. Later Years In 1859, his son Daniel died and then in 1862, his daughter Blandine also passed away. Liszt and Carolyne tried to get married in Rome, but could not because of problems with her divorce papers. Disappointed, Liszt moved to a very small apartment in a monastery just outside of Rome in 1863. Liszt kept on working on new compositions, and he later published the “Royal National Hungarian Academy of Music.” He died from pneumonia in Bayreuth, Germany, when he was visiting his daughter in July of 1886. Legacy Franz Liszt created the piano recital. No one had ever thought to have an entire concert with only one musician, a single pianist. Many fellow musicians believed that his piano compositions were some of most inventive compositions ever written.

Liszt’s largest and best known original piano work is his masterwork, “Années de pèlerinage” or “Years of Pilgrimage.” Some of his other famous works are: “La Campanella,” “Liebestraume No. 3,” “Hungarian Rhapsody No. 2,” and “Un Sospiro.” Famous Composers Franz Liszt - Classical Music Composers Franz Liszt Birth: October 22, 1811 in Raiding, Austria - Death: July 31, 1886 in Bayreuth, Germany From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood. Though already a veteran of the stage by his teens, Liszt recognized the necessity of further musical tuition. He studied for a time with Carl Czerny and Antonio Salieri in Vienna, and later sought acceptance to the Paris Conservatory. When he was turned down there–foreigners were not then admitted–he instead studied privately with Anton Reicha.

Ultimately, his Hungarian origins proved a great asset to his career, enhancing his aura of mystery and exoticism and inspiring an extensive body of works, none more famous than the Hungarian Rhapsodies. Inspired by the superhuman technique of the violinist Paganini, Liszt set out to translate these qualities to the piano. As his career as a touring performer, conductor, and teacher burgeoned, he began to devote an increasing amount of time to composition. He wrote most of his hundreds of original piano works for his own use; accordingly, they are frequently characterized by technical demands that push performers–and in Liszt's own day, the instrument itself–to their limits. The "transcendence" of his Transcendental Etudes, for example, is not a reference to the writings of Emerson and Thoreau, but an indication of the works' level of difficulty. Liszt was well into his thirties before he mastered the rudiments of orchestration but made up for lost time in the production of two "literary" symphonies and a series of orchestral essays that marks the genesis of the tone poem as a distinct genre. After a lifetime of near-constant sensation, Liszt settled down somewhat in his later years.

In his final decade he joined the Catholic Church and devoted much of his creative effort to the production of sacred works. The complexion of his music darkened; the flash that had characterized his previous efforts gave way to a peculiar introspection, manifested in strikingly original, forward-looking efforts like Nuages gris. Liszt died in Bayreuth, Germany, on July 31, 1886. Subscribe to Our Email List! And receive special discount offers and program information Franz Liszt (1811–1886) Musical notes for school children Franz Liszt (1811–1886) How to say the name: ‘Lizst’ is said like List. ‘Franz’ is said like ‘France’. Born: 22nd October 1811 in Raiding, Sopron County, Hungary (now in Austria). Liszt’s grave in Bayreuth Died: 31st July 1886 in Bayreuth, Germany. Buried: Alter Friedhof (Old Cemetery), Bayreuth. Type of Music: Liebesträume (Dreams of Love) No. 3 (for piano).

( See below for a video.) Some great pieces: Hungarian Rhapsodies (for piano). ( See below for a video of the most well-known one.) Piano Sonata in B minor. Années de Pèlerinage (Years of Pilgrimage)—a set of pieces for piano. Many other piano pieces. Piano Concertos Nos. 1 and 2. Faust Symphony (a symphonic poem). Some interesting facts: He was one of the greatest piano players who has ever lived! Most of his music is written for the piano. And most this is very, very difficult to play! In Liszt’s day the pianos weren’t as strong as they are now. Liszt often broke piano strings when he played! In fact, audiences used to be disappointed if he didn’t break any strings!! He was a great fan of Wagner . In fact, Wagner married Liszt’s daughter, Cosima. Brahms didn’t like Liszt’s music, and even went to sleep when Liszt played his Piano Sonata in B&#160minor! The set of pieces Années de Pèlerinage (Years of Pilgrimage) was written as Liszt travelled around Europe.

They are like a musical diary of places he went and how he felt about the things he saw. He wrote the first &#8216symphonic poem’—a piece of music for an orchestra that tells a story. Here is a video of Liszt’s Hungarian Rhapsody No. 2. (Move forward in this video to see how difficult this music is to play!!) Liszt’s Hungarian Rhapsody No. 2 And here is a video of Liszt’s Liebesträume (Dreams of Love) No. 3. Liszt’s Liebesträume (Dreams of Love) No. 3 Choose another composer of classical music . Picture credits: Franz Liszt. This is a painting by Barabás Miklós from 1847. The image is in the public domain. Click here for the source of this image, along with the relevant copyright information. Liszt’s grave in Bayreuth. This photograph was taken by Thierry Selva. I have obtained permission from him to use the image here. Click here for the source of this image. Video credits: Maksim – Hungarian Rhapsody No.2 (Liszt). For scores and more please visit .

Maksim Mrvica playing the 2nd Hungarian Rhapsody live at the Roundhouse London. Excellent performance. Lang Lang plays Liebestraum. The person who posted this on YouTube simply writes: Composed by Liszt of course. { 10 comments… read them below or add one } 1 Samantha 24th October 2012 Awesome website Franz Liszt | Biography & History | AllMusic google+ Artist Biography by Michael Rodman Liszt was the only contemporary whose music Richard Wagner gratefully acknowledged as an influence upon his own. His lasting fame was an alchemy of extraordinary digital ability -- the greatest in the history of keyboard playing -- an unmatched instinct for showmanship, and one of the most progressive musical imaginations of his time. Hailed by some as a visionary, reviled by others as a symbol of empty Romantic excess, Franz Liszt wrote his name across music history in a truly inimitable manner. From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood.

Still, he was at the age of eleven the youngest contributor to publisher Anton Diabelli 's famous variation commissioning project, best remembered as the inspiration for Beethoven 's final piano masterpiece. An oft-repeated anecdote -- first recounted by Liszt himself decades later, and possibly fanciful -- has Beethoven attending a recital given by the youngster and bestowing a kiss of benediction upon him. Though already a veteran of the stage by his teens, Liszt recognized the necessity of further musical tuition. He studied for a time with Czerny and Salieri in Vienna, and later sought acceptance to the Paris Conservatory. When he was turned down there -- foreigners were not then admitted -- he instead studied privately with Anton Reicha. Ultimately, his Hungarian origins proved a great asset to his career, enhancing his aura of mystery and exoticism and inspiring an extensive body of works, none more famous than the Hungarian Rhapsodies (1846-1885). Liszt soon became a prominent figure in Parisian society, his romantic entanglements providing much material for gossip. Still, not even the juiciest accounts of his amorous exploits could compete with the stories about his wizardry at the keyboard.

Inspired by the superhuman technique -- and, indeed, diabolical stage presence -- of the violinist Paganini , Liszt set out to translate these qualities to the piano. As his career as a touring performer, conductor, and teacher burgeoned, he began to devote an increasing amount of time to composition. He wrote most of his hundreds of original piano works for his own use; accordingly, they are frequently characterized by technical demands that push performers -- and in Liszt 's own day, the instrument itself -- to their limits. The "transcendence" of his Transcendental Etudes (1851), for example, is not a reference to the writings of Emerson and Thoreau, but an indication of the works' level of difficulty. Liszt was well into his thirties before he mastered the rudiments of orchestration -- works like the Piano Concerto No.

1 (1849) were orchestrated by talented students -- but made up for lost time in the production of two "literary" symphonies (Faust, 1854-1857, and Dante, 1855-1856) and a series of orchestral essays (including Les préludes, 1848-1854) that marks the genesis of the tone poem as a distinct genre. After a lifetime of near-constant sensation, Liszt settled down somewhat in his later years. In his final decade he joined the Catholic Church and devoted much of his creative effort to the production of sacred works. The complexion of his music darkened; the flash that had characterized his previous efforts gave way to a peculiar introspection, manifested in strikingly original, forward-looking efforts like Nuages gris (1881). Liszt died in Bayreuth, Germany, on July 31, 1886, having outlived Wagner , his son-in-law and greatest creative beneficiary.

Franz Liszt: Biography and works - MusicaNeo Born in 1811 in Raiding, Kingdom of Hungary, now Austria, died 1886 in Bayreuth, Germany. Franz Liszt, eagerly supported by his father, was from his early childhood on celebrated as a prodigy on the piano. When in 1823 the family moved to Vienna, the promotion of his musical education was the main purpose. Study trips to Paris as well as concert tours through France, Switzerland and England followed. The sudden death of Liszt’s father in 1827 forced him to provide for his mother and himself, which he tried by giving music lessons. After a personal crisis he withdrew from society and dedicated his time to literature and religious studies. He seemed to have gained more interest in life and art again in 1830, probably motivated by the revolutionary activities in Paris. Now, Liszt closed acquaintances with the spokesmen of the literary Romantic Movement and soon became the darling of the Parisian society. Among the musicians he befriended were Berlioz, Paganini and Chopin, who all exercised a great influence on the young artist.

Paganini, for example, became a role model for his own ambitions as a virtuoso he aspired to, with Chopin he even shared various performances. In 1833 Liszt met his later companion Countess Marie d’ Agoult, with whom he was to have three children, amongst them Cosima, the wife-to-be of Richard Wagner. The start of an extensive tour of Europe in 1838 must be regarded as prelude for an unprecedented virtuoso career. The enormous enthusiasm and the almost fanatical celebrations of his talent soon lead to a „Lisztomania“. On the other hand, the intensity of relationship with Marie d’Agoult faded remarkably, ultimately resulting in their break up in 1844. Liszt’s appointment as “Kappellmeister Extraordinaire” (special bandmaster) to the court of Weimar in 1842 brought with it the obligation to work in Weimar on a regular schedule. In February 1848 Liszt finally decided to settle in Weimar with his new companion, Princess Carolyne of Sayn-Wittgenstein.

As court bandmaster he eagerly promoted and extended the contemporary repertoire, above all the compositions of Schumann, Berlioz and Richard Wagner, who was living in Swiss exile. With Franz Liszt Weimar became an important centre of musical developments in Germany. The Altenburg, Liszt’s residence in Weimar, attracted young artists and authors from all over Europe. In 1859 Liszt resigned from his office in Weimar, finally leaving the town for Rome two years later. The Roman time is determined by Liszt’s increasing devotion to Catholicism and the composition of ecclesiastical music, evoked by private difficulties, in 1865 he even was ordained and became an abbé. From 1869 onwards, Liszt lived several months of the year alternately in Weimar, Budapest and Rome. He educated and trained generations of young pianists of all nationalities in his master classes and participated at the same time in the construction of an authentic Hungarian music culture. He had made a clear move away from the musical mainstream, his late work is determined by an increasing isolation and experimental expressiveness.

On July 31, 1886 Franz Liszt died in Bayreuth at the house of his daughter Cosima Wagner, officially as a result of pneumonia, but more probable of a heart condition. Popular works Gustav Mahler (1860-1911) - Franz Liszt (1811-1886) Born: 22-10-1811 Doborjan, Hungary. Now Raiding, Austria. Died: 31-07-1886 Bayreuth, Germany. Buried: 03-08-1886 City cemetery , Bayreuth, Germany. Grave A 2b/560. Franz Liszt, Hungarian Liszt Ferencz, in modern usage Liszt Ferenc was a 19th-century Hungarian composer, virtuoso pianist, conductor, teacher and Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist.

He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered to be the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin. As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano. See also: House Liszt . Franz Liszt was born October 22, 1811, in Doborján, Hungary, today the town of Raiding in Austria.

His father, Adam Liszt, worked in Doborján as a clerk for Prince Esterházy (the Esterházy family is perhaps most well known as the patrons of Haydn). His mother Maria Anna Lager came from a modest family, and before meeting Adam Liszt worked as a chambermaid in Vienna. Liszt had his first piano lessons with his father, who was an amateur musician. By age nine he was already receiving public acclaim for his performances, notably at the palace of Prince Esterházy. In May 1822, with financial help from a few Hungarian aristocrats, the young Liszt was able to move to Vienna with his parents in order to study piano with Karl Czerny and composition with Antonio Salieri. Aware that his son’s talent was extraordinary, Adam Liszt took an unpaid leave of absence to make the move to Vienna possible. Moreover, Czerny and Salieri, equally aware of their new pupil’s potential, offered their services free of charge. Liszt rewarded their faith with extreme dedication, even though Czerny was very demanding on technical matters, such as scales, arpeggios, and the like.

Encouraging press reviews of his son’s performances convinced Adam Liszt to leave Vienna for Paris, hoping to further his son’s career in the French capital. The family arrived there in December of 1823, after three months of travel and numerous concerts given along the way. In Paris, Liszt studied composition with Ferdinando Paer and theory with Anton Reicha. Like his piano playing, his compositions from this period were also notably successful. Liszt was only fourteen when the Paris Opéra agreed to perform his one-act opera Don Sanche. Shortly thereafter, the first version of his Etudes for piano was published in 1826. He continued playing concerts as well. Between 1824 and 1827, Liszt, accompanied by his father, performed extensively in France and toured England on three occasions. His fame was such that King George IV of England himself received Liszt for a private performance. Depression and Healing In 1827 Adam Liszt died abruptly of typhoid fever. Liszt attended his father’s funeral alone, his mother having returned to Austria three years earlier to stay with family while her son was on tour.

Liszt found himself charged with providing for the family and for reimbursing debts. He did so by working as a private piano teacher. While working in this capacity, he fell in love with a student his age, but the girl’s father cut the romance short, and immediately dismissed Liszt. The combination of these events caused Liszt to have a nervous breakdown. He discontinued any music making and diligently frequented the church, even contemplating priesthood. His removal from society was such that it even led to rumors that he had died. But Liszt could not ignore for long the exciting atmosphere around him. Witnessing the Revolution of 1830 in the streets of Paris, he was drawn to composing again and started to sketch a Revolutionary Symphony. Other talented composers also inspired Liszt, including Hector Berlioz. He met Berlioz and attended the performance of his Symphonie Fantastique in 1830. The friendship between them was to endure twenty years. In 1832, recitals by acclaimed violinist Niccolo Paganini and pianist Frederic Chopin also made a lasting impression on Liszt. His years of seclusion were another source of his renewed interest in music.

During this time, Liszt read a great deal. He was particularly engaged by readings on the relationship of music to other arts and the religious theories of Saint-Simon and the Abbe de Lamennais, whom he later traveled to meet in person. His extensive reading had another benefit: as he refined his literary tastes and fully mastered the French language, he began to participate in and to enjoy the artistic and intellectual vibrancy of the salons. It was probably in such a setting that he came to meet the countess Marie D’Agoult. In 1833, she and Liszt began a clandestine affair. For two years, it consisted mostly of correspondence and brief rendezvous. But in 1835, Marie became pregnant and left with Liszt for Geneva, Switzerland. There, Liszt offered his services as a piano teacher on the faculty of the newly opened conservatory. In December 1835, Liszt’s first daughter Blandine was born; Liszt officially acknowledged paternity, and was to do likewise for the two other children that Marie later gave birth to. During these years Liszt did not perform publicly.

After the death of his father Liszt shied away from the concert stage, but two events prompted his return to public performances. One was a piano duel that was organized in March of 1837 in Paris against the virtuoso Sigismund Thalberg. Thalberg’s reputation was growing and Liszt made the effort to travel back to France in order to reaffirm his supremacy as a concert pianist. After he returned home from Paris in the fall of 1837, Liszt took his family to Italy. A second daughter, Cosima Wagner (1837-1930) , was born in Bellagio in December. While there, the second event that encouraged Liszt to perform publicly was the news that a flood had ravaged Pest in Hungary. Even though Liszt had not spent a great deal of time there, he was very aware of his Hungarian roots. Thus, he left at once for Vienna in order to offer a series of relief concerts for the affected population. The funds he gathered exceeded any other private donation that was made to Hungary. From that point on, Liszt became a Hungarian national symbol.

He warmly accepted and reciprocated the Hungarians’ affection, showing patriotism on several occasions by playing Hungarian tunes (while forbidden to do so by Austrian authorities) and by wearing a traditional Hungarian costume on stage. He also made use of popular tunes from the Magyar and Gypsy repertoires in his own music, notably in the famous Hungarian Rhapsodies. However, his lack of distinction between these two repertoires in his book The Gypsies and their Music in Hungary (1859) did earn a measure of hostility from some of his compatriots. As Liszt’s desire to fully resume his career as a virtuoso performer grew, his relationship with Marie d’Agoult deteriorated. Their son Daniel was born in May of 1839 in Rome. Five months later, Marie d’Agoult returned to Paris, where she hoped to be forgiven by her family. She was indeed welcomed back, but her children were not, and they went on to be raised by their grandmother, Anna Liszt. Marie d’Agoult put an end to her relationship with Liszt in 1844.

His long absences, his lack of fidelity, and especially, his lack of discretion, hurt her ego and her reputation more than she could tolerate. In a letter to him she stated, “I am willing to be your mistress, but not one of your mistresses.” Unrivaled Virtuoso While by the age of twenty-eight Liszt was already hailed as a virtuoso pianist, it was the years from 1839 to 1847 which really cemented his reputation as the most formidable pianist of his time, and, arguably, of all time. During these years, called Liszt’s “Glanzzeit” period (Time of Splendor), the artist toured extensively. He traveled everywhere, from Dublin to Madrid, from Istanbul to Odessa and Moscow, giving over a thousand performances. The way the recitals were set has become a standard for performers today, but the format was truly innovative for the time. Instead of performing in salons and small venues, Liszt performed in large concert halls by himself. He played with his profile to the audience, and with the piano lid opened in order for the sound to carry.

He memorized his programs entirely and played a repertoire ranging from Bach to his own works; he popularized several works of Beethoven, today standards, but at that time unknown. Robert Schumann commented that Liszt’s own works, such as the Grandes études de Paganini and Etudes d’exécution transcendante, were so difficult that only a dozen pianists in the world could pretend to play them (Liszt later reviewed and simplified them somewhat). Indeed, Liszt particularly enjoyed dazzling his audiences with an unprecedented display of technique – notably furiously fast tempi, glissandi, and large leaps – but also with very expressive playing. A contemporary of new developments in piano making, Liszt truly pioneered the modern piano technique and offered his listeners a completely new experience in terms of piano performance. Liszt’s audiences responded enthusiastically to his ability and to the new techniques. Early biographies of Liszt’s life enjoy describing the “Lisztomania” by giving a profusion of anecdotes, such as hysterical female admirers fainting or fighting over one of Liszt’s cigar stubs. Indeed, Liszt was admired everywhere.

He had among his audience most of the kings and queens of Europe and received honors from them on many occasions. His last tour lasted eighteen months, took him from Austria to Ukraine, and included a stay in Turkey. Weimar While he was in Ukraine, Liszt was hosted for three months at the estate of the twenty-eight-year-old Princess Carolyn of Sayn-Wittgenstein. They fell in love, and in February 1848, although already married, she left with Liszt for Weimar. There the position of kapellmeister had awaited Liszt since 1842; it was an opportunity for him to rest after eight years of intense traveling. Both the stability of his life in Weimar and the orchestra available to him in the city allowed Liszt to devote time to composition and most of his major orchestral works come from this period. In Weimar he wrote twelve symphonic poems, the Faust and Dante symphonies, the Messe de Gran, the Psalm XIII, as well as numerous piano works (the concertos, the sonata, the Album d’un voyageur, and the final versions of the Etudes and Hungarian Rhapsodies).

Revered as a pianist, Liszt quickly established his reputation as a gifted conductor as well. He was frequently invited to conduct performances throughout Germany. In Weimar he championed the works of Wagner and Berlioz. And in his residence at Altenburg Liszt received numerous artists and students eager to benefit from his knowledge as a pianist and conductor and to share his ideas about music. However, the situation in Weimar also had its share of dissatisfying elements; ultimately, local intrigues and jealousies led him to resign from his position in 1858. Another source of personal discontent was the lingering situation of Princess Carolyn’s request for an annulment, which eventually led the couple to leave for Rome in order to seek the direct assistance of the Pope in the matter. Rome In 1861, Carolyn thought her thirteen-year fight to annul her marriage had finally ended. Her annulment was granted and her marriage to Liszt was scheduled to take place in Rome that October. However, the plans were ruined at the last minute by the interference of Carolyn’s family, which was concerned that her daughter from her first marriage would lose her rights to the family property were Carolyn to remarry.

Along with this major disappointment, Liszt was confronted at the same time by the loss of two of his children, Daniel in 1859 and Blandine in 1862. As for Cosima Wagner (1837-1930) , her decision to leave her husband for Richard Wagner caused lasting discord between her and Liszt. This series of hardships affected Liszt in a way similar to that of the death of his father. He isolated himself and sought comfort in the church. As Rome was the center of religious life in Europe, Liszt decided to stay in the city. However, he did not give up music altogether. He composed more piano music and worked on his two oratorios Legende von der heiligen Elisabeth (The Legend of St. Elizabeth) and Christus, which both took numerous years to complete. He frequented the church for musical inspiration as well, and was especially seduced by the music of Palestrina, as well as by Gregorian chant. It is hardly surprising then, that Liszt came to sympathize with the Cecilian movement and its founder Franz Xaver Witt.

From 1863 to 1865, Liszt isolated himself at the monastery of Madonna del Rosario, near Rome. There Pope Pius IX himself, who was an admirer of Liszt's music and who later invited Liszt to give private recitals at the Vatican, visited him. Following his retreat, Liszt entered the clergy in the minor orders. At the end of 1866, Liszt took an apartment in Rome and resumed his activities as a piano teacher. At the request of the Grand Duke of Weimar, Liszt also resumed some of his work in the city of Weimar, starting in 1869. The Grand Duke provided him with housing, and Liszt offered a regular masterclass in the city from the spring to the fall. When neither in Weimar nor in Rome, Liszt could be found in Budapest, where he was honored in 1871 with the title of Royal Hungarian Counselor for the Emperor Franz Joseph. Four years later, he was also named president of the recently founded National Hungarian Royal Academy of Music. Liszt took a more active role in the latter position than in the former, setting the curriculum and requirements for the new establishment.

As it was hoped, the academy considerably helped Hungarian talents such as Bela Bartók and Zoltán Kodály. Final Years Liszt spent the last years of his life traveling continuously. In 1886, the year Liszt turned seventy-five, he was invited to attend festivals honoring him in several countries. On the insistence of a former student, he chose to visit England, a country he had avoided for over forty years because of an unsuccessful tour during the Glanzzeit period. Although Liszt considered himself no longer fit to play, he was urged to perform several times by his admirers, who included Queen Victoria. Liszt returned to Weimar satisfied, but in a weakened state of health; he was by then almost blind. His daughter Cosima Wagner (1837-1930) , with whom he had reconciled, requested his presence in Bayreuth, where the festival devoted to the late Wagner was experiencing difficulties. On his way to Bayreuth by night train, Liszt caught pneumonia. In Bayreuth, he was tended to by the faithful students who followed him on his journeys, as well as by his daughter.

Over ten days his condition worsened and Liszt died on the morning of July 31, 1886. Details Written by Bert van der Waal van Dijk Last Updated: 19 November 2016 Franz Liszt (1811 - 1886) - Genealogy Franz Liszt Share your family tree and photos with the people you know and love Build your family tree online Share photos and videos Raiding (Doborjan), Burgenland, Austria (then Hungary) Death: Bayreuth, Upper Franconia, Bavaria, Germany Immediate Family: Composer, virtuoso pianist and teacher.

Managed by: Added 2013-06-08 23:26:43 -0700 by Carl Gustav Verbraeken Collection: Oct 22 1811 - Raiding, Hungary Death: July 31 1886 - Bayreuth, Germany Parents: Adam Liszt, Maria Anna Liszt (born Lager) Wife: Added 2013-06-08 23:26:54 -0700 by Carl Gustav Verbraeken Collection: Adam Liszt, Anna Maria Liszt (geb. Lager) Siblings: ...t, Johann Nepomuk Liszt, Alexander Liszt, Johanna Liszt, Alois Liszt, Johanna Liszt, Alois Liszt, Michael Liszt, Eduard Liszt, <Privat... Added 2013-06-08 23:27:22 -0700 by Carl Gustav Verbraeken Collection: Caroline 29 V Liszt (geb.

Sayn2) Daughter: Added 2013-06-08 23:26:59 -0700 by Carl Gustav Verbraeken Collection: Oct 22 1811 - Raiding, Burgenland Death: July 31 1886 - Bayreuth, Anton Parents: Adam Liszt, Anna Liszt (born Lager) Wife: Added 2013-06-08 23:27:12 -0700 by Carl Gustav Verbraeken Collection: Added 2013-06-08 23:27:04 -0700 by Carl Gustav Verbraeken Collection: Marie Liszt (geb. De Flavigny Gräfin D'agoult) Children: Added 2013-06-08 23:26:49 -0700 by Carl Gustav Verbraeken Collection: Adam Liszt (List), Anna Maria Liszt (geb. Lager) Sister: Cecilia Jonas (geb.

Liszt (List)) Wife: Marie Cathrina Sophie De Flavigny Partner: August Heinrich Hoffmann Von Fallersleben Wife: Added 2013-06-08 23:26:48 -0700 by Carl Gustav Verbraeken Collection: Oct 22 1811 - Raiding (damals Ungarn, heute Burgenland) Death: Adam Liszt, Anna Maria Liszt (geb. Lager) Partner: Marie Cathérine Sophie D’agoult (geb.

De Flavigny) Children: Added 2013-06-08 23:27:12 -0700 by Carl Gustav Verbraeken Collection: Added 2013-06-08 23:27:16 -0700 by Carl Gustav Verbraeken Collection: Marie Catherine Sophie De Flavigny, Comtesse D'agoult Daughter: Added 2013-06-08 23:27:17 -0700 by Carl Gustav Verbraeken Collection: Marie Liszt (geb.

D´ Agoolt) Daughter: Added 2013-06-08 23:26:41 -0700 by Carl Gustav Verbraeken Collection: Oct 22 1811 - Doborjan, Hungary Death: July 31 1886 - Bayreuth, Oberfranken, Bavaria, Germany Parents: Adam Liszt, Maria Anna Liszt (born Lager) Wife: Amandine Aurore Lucie Dupin, GEORGE SAND novelist Wife: Marie Catherine Sophie De Flavigny, Novelist DANIEL STERN Children: Liszt Ferenc (Hungarian) Franz Liszt (Hungarian: Liszt Ferencz, in modern use Liszt Ferenc from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811 – July 31, 1886) was a 19th century Hungarian composer, virtuoso pianist and teacher. Liszt became renowned throughout Europe during the 19th century for his great skill as a performer.

He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin. As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.

Franz Liszt (Author of Life of Chopin) edit data Franz Liszt (1811, Doborján, Hungary - 1886, Bayreuth, Germany)(Hungarian: Ferencz Liszt, in modern usage Ferenc Liszt, from 1859 to 1865 officially Franz Ritter von Liszt) (October 22, 1811 – July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher. He was also the father-in-law of Richard Wagner. Liszt became renowned throughout Europe for his great skill as a performer during the 1800s. He is said to have been the most technically advanced and perhaps greatest pianist of all time.

He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner and Hector Berlioz Franz Liszt (1811, Doborján, Hungary - 1886, Bayreuth, Germany)(Hungarian: Ferencz Liszt, in modern usage Ferenc Liszt, from 1859 to 1865 officially Franz Ritter von Liszt) (October 22, 1811 – July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher. He was also the father-in-law of Richard Wagner. Liszt became renowned throughout Europe for his great skill as a performer during the 1800s. He is said to have been the most technically advanced and perhaps greatest pianist of all time. He was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner and Hector Berlioz.

As a composer, Liszt was one of the most prominent representatives of the “neudeutsche schule” (“New German School”). He left behind a huge and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. ...more

Question: Which composer died at Bayreuth in Germany in 1886?
Answer: LISZT